Quotes About Perspective

The public… demands certainties…. But there are no certainties.

It is even harder for the average ape to believe that he has descended from man.

Or so Feynman argued: the philosophers themselves, he said, were always a tempo behind, like tourists moving in after the explorers have left.

In a way, art is a theory about the way the world looks to human beings. It's abundantly obvious that one doesn't know the world around us in detail. What artists have accomplished is realizing that there's only a small amount of stuff that's important, and then seeing what it was.

quoting Tolstoy: "I know that most men, including those at ease with problems of the greatest complexity, can seldom accept even the simplest and most obvious truth if it be such as would oblige them to admit the falsity of conclusions which they have delighted in explaining to colleagues, which they have proudly taught to others, and which they have woven, thread by thread, into the fabric of their lives." Many

If you knew where you were, there was no way of knowing where you were going and conversely, if you knew where you were going, there was no way of knowing where you were....

In fact, he argued, any coastline is—in a sense—infinitely long. In another sense, the answer depends on the length of your ruler.

Feigenbaum persuaded himself that Goethe had been right about color. Goethe's ideas resemble a facile notion, popular among psychologists, that makes a distinction between hard physical reality and the variable subjective perception of it. The colors we perceive vary from time to time and from person to person—that much is easy to say.

He suspected that when Feynman wanted to know what an electron would do under given circumstances he merely asked himself, "If I were an electron, what would I do?

A Beaux-Arts paragon like the Paris Opera has no scale because it has every scale. An observer seeing the building from any distance finds some detail that draws the eye. The composition changes as one approaches and new elements of the structure come into play.

John Henry Newman, poet and priest, wrote that "time is not a common property; / But what is long is short, and swift is slow/And near is distant, as received and grasped / By this mind and by that, / And every one is standard of his own chronology.

It may prove useful in physics," he wrote, "to consider events in all of time at once and to imagine that we at each instant are only aware of those that lie behind us.

There is no line between fine art and illustration; there is no high or low art; there is only art, and it comes in many forms." (p. 12)

in 1969, I still regard Jesus Christ today as the chief focus of my perspective on God but not to the exclusion of other religious perspectives. God's reality is not bound by one manifestation of the divine in Jesus but can be found wherever people are being empowered to fight for freedom. Life-giving power for the poor and the oppressed is the primary criterion that we must use to judge the adequacy of our theology, not abstract concepts.

Transvaluation of values," a term derived from Nietzsche (who derided Christianity's embrace of the weak), is the heart of Niebuhr's perspective on the cross.

It's better to be sick of life than not have a life.

And I could find other excuses to get out and sit on the crisp grass and look out over the airy roof of Yorkshire. It was like taking time out of life. Time to get things into perspective and assess my progress.

They had a toughness and a philosophical attitude which was new to me. Misfortunes which would make the city dweller want to bang his head against a wall were shrugged off with "Aye, well, these things

I was really sloshing around in my trough of self-pity

I found that the fear is worse than the reality and horse work has never worried me as much since then.

This old man had once told me that he left school when he was twelve, whereas I had spent most of the twenty-four years of my life in study. Yet when I looked back on the last hour or so I could come to only one conclusion. I'd had more of books, but he had more of learning.

Am reuÈ™it s? scoatem pl?cerea din viziunea noastr? asupra vieÈ›ii: frumuseÈ›ea vieÈ›ii a devenit irelevant? pe lâng? sensul ei.

Ideea creÈ™terii a ajuns azi un cliÈ™eu biografic. A fi adult înseamn? a fi un omn care a crescut. Dar este numai o modalitate de a privi maturizarea, fie ea È™i eroic?. Orice copac È™i orice legum? care cresc îÈ™i trimit din ce în ce mai jos r?d?cinile. Ne înc?p??ân?m s? vedem doar partea de sus a creÈ™terii noastre organice.

Pentru imaginea final?, faptul c? pictorul a aÈ™ezat mai întâi tonurile roÈ™ii sau pe cele gri sau faptul c? dedesubtul picturii se pot observa linii ale unui desen anterior nu are nicio importan?? — ce se vede acum este chiar imaginea în ansamblul ei, dintr-odat?. La fel È™i în cazul figurii umane; complexitatea È™i tr?s?turile formeaz? o singur? expresie, o imagine singular? ce se livreaz? în întregul ei.